When creating an airbrush pattern on a car or when painting interiors, a professional artist will definitely take into account the "temperature" property of color. Warm and cold colors in their combination make it possible to convey many emotions in one composition. A hot battle, the battle of heroes is a combination of the coldness of weapons and the heat of fire and smoke; the burning, hot sand of the desert and the cold mirage of the oasis with the so desired cool water will convey all the emotions of a traveler dying of thirst.
What does color have to do with temperature? Why "warm" or "cold" shade? Of course, by touching a red image with a finger, we will not get a burn, and standing next to a “cold” picture, we will not catch a runny nose. The division into warm and cold colors is associated with an associative representation. The colors that make you think about fire, sun, heat, summer are considered warm. And cold shades will make you associate with cold, ice, winter, depth.

Warm colors are colors that include red, yellow, or orange. Cold blue when adding a drop of orange becomes much warmer.

Cool colors are colors with a blue tint. Add some blue to the yellow scarf, and Warm scarf will no longer seem so warm and soft.

Any color can be both warm and cold. It's all about the shades. For example, yellow "increases" the temperature of green, and blue color, on the contrary, "lowers". Sometimes only by comparing two shades, you can tell which of the shades is colder and which is warmer.

For example, a Golden hue will be cooler than Saffron, but warmer than Lemon.

The only color that under no circumstances does not change its temperature is orange, no matter how much you “cool” it.

Warm and cold colors are often used by artists to create perspective. Visually, objects in warm colors appear closer, while objects painted in cold colors fade into the background. This perspective is called light perspective.

Artists use the thermal properties of color in airbrushing interiors. Warm colors visually reduce the space. At the same time, they make the room more cozy and comfortable. Cold colors, on the contrary, push the space apart, create a sense of depth, help to focus and gather. The combination of cold and warm colors is effectively used when you need to adjust the geometry of the room, visually reducing or increasing the space.

What is color temperature and what does it affect? The concept of warm and cold colors in color is different from the generally accepted in the study of the exact sciences, it defines not real physical properties, and its perception by a person, the impact on well-being and mood. Although this knowledge is subjective, it has been verified by many years of practice in areas such as art, design or color therapy. In addition to color temperature, stylists and makeup artists work with shade temperature. The temperature of color and shade are often confused, so we will analyze them separately.

Color temperature.

It has long been known about the psychological impact of color on humans and some animals, especially if large areas are painted. Therefore, it is important to distinguish between warm or cold colors when choosing interior colors.

This experience is backed by research. It turned out that cold colors lower, and warm ones increase blood circulation. For example, the room was painted in a certain color and people were asked to determine the temperature. In rooms painted blue and green, people felt the temperature was 2-3 degrees lower than in a room painted red and orange. It is no coincidence that in everyday life the designations of cold in blue, hot in red on taps with water, thermometers, and other objects. These household designations further fix the temperature-color associations in the mind. Reinforce associations and natural phenomena. The sky, ice, water, have blue hues. The sun, fire, sand are orange.

How to determine warm or cold color?

Color temperature is easy to determine with . It is absolute and relative.

Absolute color temperature.

Divide the color wheel into two halves. At the top pole is the warmest color - orange. It is considered the warmest, because it does not have cold shades, later we will consider this property in more detail. At the lower pole is the coldest color - blue. On the sides of the color wheel are the temperature-neutral colors green and magenta. Both are formed by a mixture of cold and warm colors, green - yellow and blue, purple - red and blue. All the colors of the upper half are considered warm, and the lower half are considered cold.

Achromatic colors: white, black and gray are neutral.

relative temperature. Cold and warm shades of colors.

Understanding relative temperature is important when working with multiple colors and a color palette. It helps, for example, to convey space and volume in an image or surface using color.

In addition to orange and blue, all colors can be both warm and cold relative to others at the same time. Using the color wheel, this is as easy to determine as absolute temperature. Warmth decreases as it approaches the lower pole and blue, for example, red or yellow will be colder than orange, and lemon or magenta will be colder than red and yellow. The same principle works in increasing warmth: cyan and violet will be warmer than blue, turquoise and purple even warmer. Temperature gradations are especially evident in and palettes.

A color can be warm or cold not only in relation to other colors, but also to its own shades.

Cold and warm shades of colors.

With the determination of the temperature of the shade, difficulties most often arise. Such concepts as cold red or warm red have become firmly established in everyday life, but not everyone understands the same thing by them. First, relative hue temperature is often confused with color temperature. Secondly, subjectivity: there is no precise definition of where red begins and ends. Meanwhile, the ability to determine cold and warm tones is important when working with a person's appearance, for example, determining color types and selecting individual color palettes. This skill can be developed through experience and understanding of a simple principle.

Any color other than orange can have warm, neutral, or cool undertones. How to determine the temperature of a hue using the color wheel?

We take any color and define its boundaries. Then we find the approximate center. Shades of color lying on the side of orange will be warm. From the blue side - cold. Intermediate colors without impurities of warm or cold are called local or neutral.

Let's start with green. It is formed by warm yellow and cold blue colors. A cold or warm green tint is obtained due to the predominance of blue or yellow. Moving up to yellow, we get warm shades, down to blue - cold.

The same principle applies to other colors, such as yellow. Approaching orange, the color warms up. Going down, yellow acquires a greenish, lemony, cold hue. Neutral yellow does not have a clear greenish or orange cast.

The orange color stands out in particular. This is the warmest and only color that does not have cold undertones. In addition, it spreads warmth to the surroundings. The nearest colors: yellow-orange and orange-red are also exceptionally warm.

Red. The same principle applies here: the upper shades, highlighted by yellow, are warm, the lower ones from the purple side are cold.

Purple itself is neutral, like green, it is formed by a mixture of cold and warm colors. A large proportion of red makes it warm, blue - cold. From the point of view of use in warm or cold scales, this is a rather complex color. The differences between warm purple and cool red or cool purple and violet are difficult to distinguish. It is also difficult to isolate the local magenta color.

The same boundary difficulties apply to purple. When adding red, it warms up, blue - it gets colder.

The difficulty in determining the temperature of a shade is that there are no exact and generally accepted distinctions where the warm shade of one color ends and the cold shade of another begins. There are no clear boundaries and local shades. Usually, when we are dealing with primary colors: red, blue, yellow and green, this division is intuitive, experience helps to distinguish between other colors.

The blue color is the coldest of the entire palette, it is the opposite of orange. But if orange makes neighboring colors exceptionally warm and does not have cold shades, then blue does not have similar properties. It is conditionally possible to allocate a warm blue color. Some people think that blue, by definition, cannot be warm, but a warm range of colors can contain blue, if you choose its right shade. Its cold, they are local shades are located in the middle, and warm at the edges: on the one hand, blue is highlighted with yellow, on the other with red. These shades will be warmer relative to cold blue.

Blue-green colors stand out separately. Here, warmth-coldness is conditional and depends on whether they are singled out in a separate group with their own local color or considered as part of green and blue shades.

So, we come to the influence of lightness and saturation on the color temperature. Up to this point, we have considered the properties of warmth-coldness on pure colors and one parameter - tone. But this is not enough, since most often you have to deal with complex colors in which there is an admixture of achromatic, that is, take into account all three parameters. Lightness changes with the addition of white and black, saturation - with the addition of gray.

Temperature of achromatic colors.

Pure are neutral. However, in nature it is difficult to find absolutely neutral gray, white or black, they always have an advantage in one direction. So, cold or warm white color is obtained from the admixture of other tones. Yellow-red make it warm, blue make it cold. The same applies to gray and black.

The temperature of the mixed colors.

For clarity, it will be convenient here to return to and look at its vertical slice. Along the edges are the cold and warm poles of the color wheel, in the center are neutral colors. Moving from the extreme temperature characteristics to the middle, the color approaches the opposite pole and is thereby neutralized. In other words, as saturation decreases, lightness increases or decreases, the color will mix with neutral achromats and become neutral itself.

Warm group - reds, yellows become less warm, their diluted shades seem colder.

Dilution with gray and black most quickly changes the character of light yellow and lemon shades, they seem greenish and cold.

Orange color does not acquire cold shades, but becomes more neutral. With dilution, it quickly ceases to be recognizable and turns into brown.

Blues and purples with the addition of white and gray lose their cold properties and seem warmer.

As you can see, with the help of the color wheel it is easy to distinguish cold shades from warm ones. Difficulties arise with the definition of blue-red and blue-green shades, it all depends on which color is considered local. Complex and mixed colors are more difficult than pure colors in determining warmth-coldness. Here it is necessary to distinguish nuances and see how the same tone changes along with lightness and saturation.

From the section: Fundamentals of modeling and decoration of clothes. Composition in a suit.

Purpose: To acquaint girls with the peculiarities of the impact different colors per person.

• the formation of students' creative abilities and the development of aesthetic culture in the choice of colors in clothing, the development of their own style and originality of appearance;
• development of initiative and creativity of students, the ability to select the most important, essential from the general flow of information;
• creating a friendly working atmosphere in the classroom.

Selection and justification of forms and methods:

Forms:

• group (work in pairs);
• frontal (issuance to the class);
• individual.

Methods:

• visual and illustrative;
• search method.

Expected result:

• application of the studied patterns when performing models in color;
• to teach girls to navigate the variety of colors when modeling clothes, taking into account their individuality.

Interdisciplinary connections:

• story;
• drawing.

Material and technical equipment:

• tables;
• handout (album sheets - black and white, stripes colored paper, instruction cards).

The activity of the teacher.

During the classes

I. Organizational moment: greeting students, checking attendance, checking readiness for the lesson, reporting the topic of the lesson.

II.Explanation of the new material:

Clothing appeared in primitive society. It was necessary for shelter from the cold, from the sun, from the wind. And aesthetic ideas about clothes appeared later, when a person mastered the tools of labor. With the division of society into classes, clothing began to be created in the interests of the ruling class. For example: in a feudal society, fashion had its own laws and regulations. In a number of laws, non-nobles were forbidden to wear silk and velvet clothes, even the length of socks was strictly regulated. But centuries passed, years passed. A person's costume changed, and fashion itself depended not on legislation, but on a person's financial situation. And from the ninth century. Great importance was attached to the color in clothes.

For example: yellow clothes were not usually worn, because. this color was considered the color of treason and envy. The white color symbolized purity and faith. Black - sorrow and fidelity. Blue - tenderness. Red is the color of blood. Usually executioners wore red clothes.

Each of us develops our own style of lifestyle, it is expressed in the manner of holding, behavior, habits and in the manner of dressing. But very often we see that many of us do not have our own style and strive for a stereotype, blindly following every “cry of fashion”. Wanting at all costs to have only fashionable things without caring that they are not friends with each other and are not in harmony with the appearance of the owner.

How to develop your own style, how to find what best expresses your personality and originality of your appearance. We will try to find answers to these questions today.

Depending on the outfit, the element of aesthetic expressiveness of clothing is color.

From drawing lessons, you know that all colors visible to the eye are divided into two main groups: chromatic and achromatic.

Table No. 1

Chromatic colors include all colors of the spectrum: red, orange, yellow, green, blue, indigo, violet.

To achromatic (colorless) - white, gray, and black.

Chromatic colors divided into warm and cold:

• warm colors are associated with the idea of ​​fire and the sun - red, orange, yellow.
• cold colors are colors that are associated with a feeling of coolness, snow and ice - blue, cyan and purple.

And green is a neutral color, because it can be made both warm and cold.

Table No. 2 (2.1)

Consider the image (2.1) on table No. 2. Here we see two colors on the same plane

Warm and cold colors, while it seems that the warm color is coming out, and the cold one is receding into the background.

Table No. 2 (2.2)

Consider the image (2.2) in table no. 2, where we can see that the same color in

Depending on the background or combination with another color, it may have a different character.

On a white background, chromatic colors appear dark, and on black, they appear brighter.

Table No. 2 (2.3)

Consider the image (2.3) in Table 2, where we observe the following phenomenon:

Contrasting colors next to each other emphasize each other, and tones that are close in color give a softer combination.

Warm colors visually increase the volume of the figure and emphasize its shortcomings. Cold colors give the figure harmony, hide flaws, visually reduce the figure.

Table No. 3

Different colors affect a person in different ways. And for many centuries this effect of colors on a person has been studied.

Depending on the attitude to a particular color, a person’s character is judged and his mental state is diagnosed.

What does each color mean?

Consider table number 4

- active color. Psychologically, it excites and even excites. Strong-willed, aggressive, cheerful natures, those who like to dominate, prefer clothes in red tones.

On the contrary, the color is passive. This color is associated with tenderness, devotion. It is preferred by calm, emotionally stable people.

- the most peaceful of all colors. Looking at something green, the eyes rest. There is a feeling of satisfaction. This color is preferred by people who are self-confident, stubborn, even stubborn.

- a color that is associated with the sun, with warmth, light. The predominance of yellow in clothes may indicate a desire to relieve tension and get away from the hassle.

- relatively calm color. Love or indifference to him determines the attitude of a person towards himself, the measure of his self-esteem.

is a combination of red and blue, and therefore it is a contradictory color. It causes confusion, increases sensuality.

Black and white colors are also characteristic. Black color expresses struggle, resistance, self-defense. White - refusal of resistance, overcoming obstacles.

When creating models, the fashion designer takes into account all the patterns of color combinations. The color in the composition of clothes should be strictly thought out, based on the overall harmony, taking into account the requirements of fashion and the individual characteristics of a person.

(question to students)

How do you think, by what signs, you can determine which colors suit you best? (eye color, hair color).

(show cards 1-7)

Blondes and fair-haired girls are colors - black, brown and yellow, as well as green, bright green, red.

Brunettes and brown-haired women- black-blue, pale blue, beige, sand-cream.

blonde with green-brown eyes there are bright colors with warm reddish hues - pink, lilac, red and yellow.

Blonde with blue or gray eyes there are colors of colder tones - blue, purple, light green.

Girls with bright red hair, light eyes- it is desirable to wear things of dark brown, green, gray-blue, bluish-green tones.

Brown-haired women with brown eyes and dark skin there are warmer tones, bright colors - bright red (crimson). Green (calm) and brown (from dark to beige).

Brunettes with blue or green eyes go for bright, but colder tones - blue, green, light green, purple and yellow.

White color goes to any color of eyes and hair. Black color goes only to young girls, at a more mature age, it is advisable to combine black with other colors.

An increasing number of people are looking for their "I", therefore, as a result of some research by sociologists, we can consider table number 4, which shows the popularity of flowers.

Table No. 5

Everyone should remember - fashion is not a master, it provides information and it is very important to be able to navigate the flow of diversity and novelty. The main thing is to choose what fashion addresses to you.

Student activity.

(performed immediately after parsing table No. 2 (2.1-2.3) and cards 1-7.)

III. Implementation of practical work:

To consolidate the acquired knowledge, training exercises are necessary, such as

1 exercise. Students have multi-colored strips made of colored paper laid out on the tables. They must choose: one color is cool (for example: blue) and one color is warm (for example: yellow). By comparing these two colors, the nature of each color is determined.

2 exercise. Students have two landscape sheets (black and white), two stripes of the same color (for example: red) on the tables. By placing one strip in the middle of a white sheet, and the other in the middle of a black sheet, students determine that, depending on the background, the same color can have a different character.

Z exercise. Using the same colored stripes, students choose two stripes that are contrasting in color (for example: red and blue) and two that are similar in color (for example: red and yellow). In this exercise, when comparing these colors, students see how a color affects another in different ways.

4 exercise. After showing the cards and the characteristics of each color, the girls try to determine which type of people, which color is more suitable. Students on the tables have colored pencils and a card (model sketch) made in black and white option. And girls who have decided on the type of person (for example: brown eyes, dark hair, dark skin) select the color scheme closest to this type.

(card 8)

IV. The final stage:

• summarizing;
• demonstration of works (sketches) made by students;
• grading
• home assignment.

Source: Magazine about fashion and sewing "Osinka.ru"

The combination of the warm shade of sand and the cold shade of the sky or water is one of the most obvious manifestations of the contrast of warm and cold in nature.
(photo: Nadezhda Azarova)

The next highlighted contrast in Johannes Itten's book "The Art of Color" is the contrast of warm and cold. The essence of this contrast is the combination of warm and cold colors in one composition.. The question is, which colors are considered warm and which are cold? And most curious, why?

Warm or cold?
A chain of simple associations allows any unprepared person to instantly highlight the warmest and coldest color from the entire spectrum.

• warm - fire, sun - red, orange;
• cold - ice, water, snow - blue, blue.

A practical consequence of this intuitive connection are color markers in everyday life: a faucet with hot water marked in red, cold faucet in blue. The scale of positive temperatures of the thermometer is red, the scale of sub-zero temperatures is blue. A stable association of warm with red, and cold with blue can be safely written down in the list of basic human stereotypes.

Blue, cyan, purple are called cold colors, and red, orange and yellow are called warm colors.
(picture: Nadezhda Azarova)

If you ask an ordinary person about the warmth of green, purple, olive, lemon and other intermediate colors, most likely this question will put him in a dead end.

In this article, we will understand in detail what affects the warmth of a color and why a color becomes warm or cold. And let's start from the very beginning. When children are taught in drawing lessons to divide colors into warm and cold, they usually say that blue, cyan, turquoise, purple are cold colors, and yellow, brown, orange, red are warm. To consolidate this connection, an associative example is given: winter and ice are cold, and summer and fire are warm. This is certainly correct.

On this, as a rule, the training of the "warm-cold" dichotomy ends. By and large, the associative series into warm and cold also ends somewhere here, as a result of which different authors have different points of view in the division of other colors into warm and cold.

Simplified division of the color wheel into warm and cold halves. To the left of the vertical - cold "blue" colors, to the right - warm "red".
(picture: Nadezhda Azarova)

Let's see how colors can be divided into warm and cold colors in the color wheel. Draw a mental line through yellow and purple, dividing the circle into two parts. All colors on the "red" side of the division - yellow-orange, orange, red, purple - are considered conditionally warm. All colors on the other "blue" side - yellow-green, green, blue-green, blue, purple - are considered conditionally cold. The colors through which the boundary of warmth passes - yellow and purple - can be, with such a division, both warm and cold, depending on their impurities. For example, golden yellow will be warm, while lemon yellow will be cold. This is an understandable, but rather conditional approach to the division of colors.

Let's take the next step towards a deeper understanding of color temperature. In my opinion, the main problem with assigning colors to warm or cold is associated with an unsystematized idea of ​​\u200b\u200bcolor. In addition, the words "colder-warmer" are somewhat subjective in our language. What the heat is unbearable for a Muscovite, the coolness is desirable for a South African. As a result, there is also subjectivity in the assessments of colors. Some people think that yellow is a warm color, while others think that it is cold.

However, the concept of "temperature" in relation to color is a very, very objective parameter. Every physicist knows this from the student's bench and, with the availability of equipment, can even measure it. AT ordinary life the only equipment we have for color evaluation that we carry with us at all times are our eyes. To help them, we have a memory and a body. Having before our eyes an ordered set of colors in the form of a spectrum or in the form of a color wheel, it will be much easier for us to understand and comprehend such an unusual color characteristic as "temperature".

All colors have a relative "temperature". When a color moves from a cold pole to a warm one, its "temperature" increases (red arrows). Conversely, when moving from warm to cold (blue arrows), the "temperature" of the color drops. Here you can clearly see that yellow-orange is warmer than light green, and purple is colder than purple.
(picture: Nadezhda Azarova)

Only the orange-red and blue-blue poles have the absolute quality of heat/cold. All other colors occupy an intermediate position on the "warm-cold" scale. The closer the color is to the cold pole (blue-blue), the colder it is. The closer the color is to the warm pole (orange-red), the warmer it is.

At the same time, the farther a color is from the heat/cold pole, the more its perception as "warm" or "cold" becomes relative, that is, dependent on neighboring colors. Therefore, it is not surprising that disagreements arise with the assessment of intermediate colors. Often, only when comparing two colors can we say that one of them is warmer and the other is colder. For example, crimson is cooler than red, but warmer than purple.

A useful corollary follows from this. Each color has a warm and cold undertone. I already mentioned yellow above. Compare - warm golden yellow and cold lemon yellow. Both the one and the other color in itself in everyday life, most people will simply call "yellow". However, on the color wheel, lemon yellow lies to the left, closer to green tones. And golden yellow lies to the right, closer to orange tones. Therefore, we can definitely say that the lemon color is colder than golden. Together they represent the warm and cold nuances of yellow.

The following diagrams show the movement of color to cool and warm hue using yellow, blue, green and red as examples.

Any color can be divided into warm and cold shades. These diagrams show the development of yellow, green, blue and red towards warmth and towards cold. Between two close patches of color, the difference is very subtle, nuanced. But the more the shade becomes warm or cold, the more visible the difference with the original color.
(picture: Nadezhda Azarova)

Paint exercise. For those who want to do this exercise with paints, I have prepared. It can be downloaded and printed on an A4 sheet of watercolor paper. Gradually mixing warm orange-red to the original color, paint over the cells of the "warmer" line. Then, mixing cold blue-blue to the original color, paint over the cells of the next row "colder". So you can clearly see how the color takes on a warm character and how it becomes colder. This is a wonderful exercise both for developing your own nuanced sense of color and for developing artistic taste in children.

Warm and cold shades can have eyes, skin and lips of a person. Compare: cold Blue eyes and warm brown, peach lip tint and chilly raspberry. Stylists, evaluating the combination of colors in the client's face, often talk about warm or cold colors. This is the starting point for them when choosing a palette of color nuances in cosmetics and recommendations for color in clothes.

Kiev-Pechersk Lavra. The same photograph in different colors produces a different impression! The warm tone of the photograph on the left makes the bell tower more soulful and soft. It seems to us that it is a warm evening outside. The cold tone of the photo on the right gives the bell tower some detachment, formalism. It's more like a cold day outside than a warm evening, right?
(photo: Nadezhda Azarova)

For artists, warm and cold shades are of particular importance. In warm colors, the artist will try to convey a warm sunset or a sunny day. Cold colors are indispensable for the cool morning and the crystal freshness of the winter landscape.

The same picture, painted in warm or cold colors, will produce a different impression on the viewer.

Photographers also take into account the warmth and coldness of the picture. Balancing between heat and cold, they select color filters to "warm" the winter landscape or, on the contrary, "cool" the night composition.

The warmth of achromatic colors
Separately, I want to highlight the group of achromatic tones. Let me remind you that achromatic colors are black, white and gray in all their variants. Some authors a priori consider these colors to be cold. Some believe that it is generally impossible to talk about warmth or coldness here, since the only color quality that black and white tones have is lightness.

Despite the fact that the colors of the achromatic scale differ from each other mainly in lightness, we can still talk about warm and cold shades of white, black and gray.
(photo: Nadezhda Azarova)

My point of view is - the warmth of achromatic colors depends on their subtone. In nature, there are no neutral white, gray or black colors. Each of them has a subtle color undertone. For this reason, and textile fabrics same color are different from each other. Two black fabrics from different factories, when compared with each other, will clearly show the difference in ebb. One will be blue-black, the other brownish-black.

Similarly, with white fabrics and flowers. One white fabric may have a milky tint, the other - snowy. This is especially evident when choosing white fabrics for Wedding Dress. You can go to a dozen stores looking for the same shade of white for lace as the satin of the dress has.

It just seems like all whites are the same! In fact, to pick up two white fabrics of the same warmth - not an easy task. When comparing shades, it will always be clear that one white color is more milky, and the other is colder, snow-white.
(photo: Nadezhda Azarova)

Gray colors may seem like a model of neutrality. But even here there are shades! Compare mouse gray to steel gray. It is obvious that the warmth of the nuances of these colors, even by naming the shades, is different.

On a scale from white to black, gray is the most neutral color in terms of warmth. However, both the undertone and the texture of the fabric will affect its perception of warmth. An important aspect: shiny fabrics are always colder than matte ones.
(photo: Nadezhda Azarova)

In this way, the general rule for determining heat also works for achromatic colors. The addition of warm colors (ocher, brown) creates warm shades, the addition of cold colors (blue, green) creates cold ones.
Therefore, blue-black will be cooler than brownish-black. Milky white will be warmer than snow white. And mouse gray will be much warmer than steel gray.

Ivan Shishkin "Winter", fragment. The original is on the left, the filter processing is on the right. See how much colder the snow is in the picture on the right! Its cold bluish undertone is especially noticeable in contrast to the warm tint of snow in Shishkin's original painting on the left. Also, this wonderful picture allows you to see that black (tree trunks) is really warmer than white (snow).

The relative warmth of colors on the white-black scale I would define as follows: white is the coldest color, black is the warmest, and gray colors occupy an intermediate state.

My associations in support of this idea are as follows. White is snow, and even snow warmed by the rays of the sun remains a chilly substance. Black is soot, coal, a product of combustion, so it always seems warmer than white.

In early spring, comparing melting snow and thawed black-brown earth, we definitely feel that the earth is warm and the snow is cold. Thus, blacks will always be warmer than whites if their color nuances support this rule. Only if the black color has a cold undertone can it become colder than the warm shades of white. Compare with each other: a warm milky shade and a cold blue-black.

At the end of this paragraph, I would like to reiterate important point. The warmth and coldness of a shade of any color depends on its undertone. The addition of warm impurities - warms the shades, the addition of cold impurities - on the contrary, creates cold shades. In addition, glitter always cools the color. Especially in contrast with the matte version of the same shade.

Meaning of warm and cold
Speaking about warm and cold colors, one cannot ignore the associations and additional meanings associated with them. You have probably heard more than once that warm colors bring you closer, and cold colors move them away? This statement is the basis for recommendations for obese women give preference to cold and dark tones in clothes. Why is it considered so?

First of all, our reaction to any color is related to the physiology of vision and the nervous system. Colors in the color spectrum differ from each other by their wavelength. On one side of the spectrum - blue-violet - the wavelength is short (400-500 nm, nanometers), the other side of the spectrum - red-orange - is characterized by a longer wavelength (600-800 nm). Colors with a long wavelength - red, orange - seem warm to us. Short wavelength colors - violet, blue, cyan - look cold to us.

From the point of view of physiology, warm and cold colors differ for us only in wavelength. The longer the wavelength, the warmer the color. The shorter the wavelength, the colder it is.
(picture: Nadezhda Azarova)

Our body is so arranged that red rays are more difficult for the human eye to focus. This requires a greater change in the curvature of the lens than in the perception of blue colors. A similar correction of the eyes is done every time when looking from near objects to distant ones. Probably, these similar physiological processes equate for us the concepts of distant and blue, close and red.

In addition, we are used to the fact that the blue sky is far away, and the distant mountains are always shrouded in a bluish cool haze. Therefore, we consider cold blue tones to be more distant, airy, receding in depth. On the contrary, we perceive warm red tones as close, protruding, dense.

Arkhip Kuindzhi "Elbrus in the evening". Even without knowing that this is the evening Elbrus, we could understand the time of day by the cold moonlight on the water. The general cold coloring of the picture emphasizes the remoteness and cold grandeur of these mountains.

Confirmation of the deep connection between the cold and the distant, the warm and the near, I see in the children's game of finding the hidden. If the player is far from the treasure, we tell him "Cold!", "Very cold!". If he approaches the goal, we encourage him "Warmer!", "Warmly!". And when the hidden is finally found, we shout "Hot!" It is likely that our language supports and preserves deep connections and associations that we do not think about in ordinary life.

Jan van Goyen "Landscape with Dunes". Warm colors are very typical for hot sand, ripe wheat, sunny days. These colors and objects are closer to us and warmer than the beautiful but distant Elbrus mountains in the previous photo.

Color is also a certain irritant for the nervous system. Studies in the field of color therapy show that blue leads to calming and inhibition of nervous reactions, and red leads to increased blood flow, activity and hyperactivation. Green and yellow colors do not give such polar reactions and, as a rule, are used to support and slightly correct a person's condition.

Human emotions are closely related to any physiological changes in the body. The effect of blue resembles the effect of cold with its decrease in motor activity, while the influx of blood under the influence of red certainly increases the degree of emotions. It is this circumstance that makes color therapy so effective. Moreover, it is these connections that create strong associative series between color - emotion - the physiological state of the body.

Maximilian de Moiron "View of the Great Eger". In this picture, we clearly see that the cold bluish mountains are farther from us, and the gorge with cows, written in the warm colors of the earth, is closer to us. Also note how natural it is that the color is light and cold at the top of the picture, and warm and heavy at the bottom.

Compare the two strings:
1. A heated argument, a warm welcome, a welcoming person, activity, rage, anger, passions, fire, hot sex, a sultry woman, a warm afternoon. Colors - red, crimson, orange.
2. A cold person, a refreshing shower, thin ice, water surface, a piercing look, a fresh breeze, blue fog, a blue dream, heavenly distances, cold darkness. Colors - blue, blue, violet.

Such associative series are the basis for choosing the color palette of a picture, a frame of a TV movie or figurative photography when shooting in a studio. A vivid, effective, memorable image is obtained only when it is built on human physiology, that is, it activates the necessary connections in nervous system and evokes specific emotions.

Imagine how unconvincing a refreshing shower in red tones or hot sex in blue and green looks. Therefore, a shower gel with a sensual fragrance will always be served in warm or even hot colors, and a shower gel with a refreshing scent in a cold palette of colors. Otherwise, there is a risk that you will not have the necessary associations and you will not buy this product. And who needs losses now?

Contrast of warm and cold
A separate story is a combination of warm and cold tones in one composition. A composition is a costume, a photograph, a painting, a frame in a film, a room setting. No matter. The main thing is that it is something that is perceived by the eye at the same time.

From the previous text, you already understood well about the diametricality of feelings that warm and cold colors separately evoke. What emotions gives rise to a contrast shower from warm and cold at the same time? Imagine how inviting a misted bottle of cold water looks on a hot afternoon. Or how cold words about breaking up relationships enter the soul of a lover with a sharp knife. Or how a warm light in a hut in the middle of a snow-covered forest touches the soul. A cocktail of conflicting feelings usually leaves no one indifferent!

It should be noted that all the most vivid experiences and vivid emotions of a person are always built on the contrast of feelings. We are used to mixing pain and joy, happiness and sorrow, intimacy and separation, love and hate. Perhaps opposing emotions balance each other, and one cannot do without the other. Or maybe, on the contrary, life seems too gray without these polar emotional swings...

Konstantin Vasiliev "Marshal Zhukov". Looking at this picture, I hear the powerful sounds of the march. They call to get in line and go for victory. The unbending will of the marshal, national pride, a step forward in spite of the pain experienced. The bright contrast of warm and cold allows the artist to convey the power of these emotions. Against the background of cold gray-blue tones, the orange piping of the overcoat and orders blaze with the same fire as the orange flame behind the marshal. We feel the tension of the war, we know the price of victory.

Be that as it may, the contrast of warm and cold allows you to convey a wide range of emotional experiences. The cold of steel and the heat of fire are an indispensable contrast for field battles and epic stories. The coolness of turquoise water and hot sand are a must-have contrast to create a holiday mood and advertise tropical pleasures. Cold calculation in the eyes and a warm heart in the hero's chest - it is simply impossible to reflect without the contradictory play of warm and cold. Where there is a contact of contradictory matters, there is always a place for the contrast of warm and cold!

At the same time, the contrast of warm and cold is not only a hard opposition. On the border of a sun glare and a snow cap in the mountains, a soft iridescent movement is born. We can say that this contrast gives rise to a special vibration, movement, spiritualized beginning. Itten considers this contrast "the most resonant among other color contrasts. Thanks to it, the possibility opens up with the help of color to convey the highest music of the celestial spheres."

Most often, in painting, blue and purple tones are contrasted with golden and ocher shades. In the stained glass windows of temples and biblical scenes, a combination of warm red and cold blue is used. Itten writes that "Grunewald turned to this contrast when he wanted to convey a sense of the divine principle."

Philippe de Champaigne "Annunciation", fragment. The contrast of the cold attire of the angel who brought the message to the Virgin Mary and the warm glow around him emphasizes his divine nature.

The Impressionists had a special love for the contrast of warm and cold. It is believed that since Monet discovered this contrast, all his works are built on combinations of warm and cold shades. "The Impressionists discovered that the cold blue color of the sky and air constantly contrasts with the warm shades of sunlight, acting as shadow colors. The charm of the paintings of Monet, Pissarro and Renoir often lies precisely in the unusual play of modulations of cold and warm tones," Itten reveals the theme. In a nutshell, impressionism is a movement in art with an emphasis on the transfer of impressions (impression - impression). And where there are impressions, there are emotions! And where there are emotions, one cannot do without the contrast of warm and cold.
The manifestation of this contrast in the interior and clothing looks very interesting. Since this contrast is associated with movement and some contradiction, these ideas must be supported by the texture of the person or the task of the room. There are two ways to apply the contrast of warm and cold in practice:
1. The selected color is divided into two shades - warm and cold. The composition is based on a combination of received tones. For example, instead of one red, you can make a more vibrant combination of shades - cold raspberry and warm orange-red. Instead of one green, you can take a pair of turquoise with mustard. In the following figure, as an example, I used the extreme shades of warm and cold, obtained in the exercise from the first part of the article.
2. The contrast is based on the bright contrast of warm red-orange tones and cold blue-green. For example, orange pillows may lie on a blue sofa. A blue carpet appears in the sand-colored interior. A table with a blue tablecloth can become more elegant and sonorous with orange napkins. Contrasting combinations of blue with terracotta, turquoise with ocher, blue with sand really look great in interiors.

In general, I want to note that the contrast of warm and cold looks most expressive with equal lightness of the shades used. If one of the shades is lightened and the other is darkened, big role the contrast of light and dark begins to play in the composition, reducing the vibrating temperature play of colors.

Examples of using the contrast of warm and cold in clothes. I took the extreme colors from the exercise above, which showed how the color changes towards warm and cold shades.
(picture: Nadezhda Azarova)

As always, completing the topic, I show my collage. Here you can see works of art, thoughtful clothing options, and the natural contrast of hot sand and bright blue skies. There are manifestations of the contrast of warm and cold everywhere. You just need to take a look.

The collage uses photos from the catwalk by Marcio Madeira, drawings by Nadezhda Azarova, paintings by Claude Monet "Parliament, London", Boris Kustodiev "Children in carnival costumes", Michelangelo "Sibyl", Ivan Aivazovsky "The Ninth Wave", William Turner "Coliseum".

For those who study coloristics remotely. As a task for children, I propose to draw two landscapes in gouache - one with warm colors (for example, a desert with camels, autumn or sunset), and the second with cold colors (for example, a mountain lake, a winter road or dawn), and tell mom why they chose these colors for your landscape.
To help young colorists - two templates for coloring: and. Both templates are 150 dpi printable on A4 paper. In addition, you can experiment with paints, changing the color to the warm side and the cold side. Template for coloring. Such an exercise teaches you to distinguish the nuances of shades and is very useful for artistic development.
And from adult free listeners, as always, I expect collages or drawings in contrast to warm and cold in our topic "Studying color with Aspen".

Article taken from the site

Everyone knows that black visually makes the figure slimmer, and white makes it fatter. But your color scheme in clothes is not limited to these colors. Other colors also have visual deception properties. Let's analyze by what laws and principles we see something that is not actually there, in order to make this effect work for ourselves.

1 Light appears larger than dark.

The apogee of this statement, just the same, is black and white. This visual trick is related to the ability of a colored object to reflect or absorb light rays.

White things reflect the maximum number of light waves that diverge in different directions. As a result, the boundary between white and another color is blurred, making objects appear larger than they actually are.

Black color absorbs light rays, so its borders appear clearer than a white object, and, therefore, it will look smaller than it really is.

Gray color reflects light rays half as much as white, and the same number of times more than black. Its borders are not as pronounced as in black, not as blurred as in white, but at the same time it loses contrast with environment. Therefore, this color will slim during the day (not like black, but still) and full in the late evening or at night.

Each color has dark, light and medium shades. They, too, obey the laws of greater or lesser reflection. Light shades of any color will increase dimensions in relation to dark shades.

The expanding and contracting effect is useful for masking figure flaws.

Women who seem to be fuller than they would like, it is better to use dark or medium colors.

For thin people, light and medium are more suitable.

In addition, you can mask slightly plump parts of the figure and unnecessarily thin ones by combining dark and light, while remaining in the same range.

2 Shiny fabrics, even dark ones, are full

It is logical to assume that the mirror surface reflects light much more than a white canvas. A halo of light draws a couple of centimeters for you.

Therefore, if you want to look slimmer, then do not choose a black sparkly dress. Black, in this case, does not compensate for its brilliance. If you fundamentally like glitter, use it in accessories.
But for thin, shiny fabrics are a great help for correction.
And if you have a figure resembling a pear, then a shiny top will suit you.

3 Cold shades slim more than warm ones

Yellow, red, orange. They selectively reflect waves in their short range. You can’t say about them as about white - it reflects light waves of all sizes ( see the physics of color) But these colors are also able to expand objects.

Blue green, blue, purple. Besides the fact that these colors are darker at their highest brightness than the brightest warm colors, even when diluted with white, they give less expansion effect than warm colors. This means that a light blue color will be less full than a light warm pink.




So, if you have a choice between warm dark and cold dark, with the main requirement of hiding excess weight then choose a cool shade.

4 The brighter the color, the more it fills.

Intense shades blind the eye, and this effect causes blurring of the boundaries. Even bright blue: cold and not light, will make you wider than gray-blue of the same lightness.

Let's summarize

According to the given data, it turns out that for overweight people, dark, not bright, cold colors will be ideal. It's like in food: everything that is not tasty is healthy. But I don't think we should go to such extremes.
It is worth knowing that vertical stripes, whatever the color, are slimming, even if it is a peeking blouse from under a cardigan.
And dark things should always be diluted with bright accessories.

I suggest the following combinations for your consideration:

Color combination for overweight people

black blue color

Alternative to black: deep black-blue color. This color is already different from achromatic: it is more fresh, rich, piquant. Suitable for both office and banquet. Combine it with light juicy colors.
Such as purple, burgundy, gold, green, calm azure, brown, lilac, medium beige.

Malachite color

Rich, luxurious, exotic color - the perfect solution for a full figure. Your forms in it will become appetizing and attractive. Malachite universal: everyday and festive color, combined with the color of pink orchid, raspberry, sand, pale green, aqua, coffee with milk, light lilac, and light beige.

Cherry color

Feminine and erotic. Soft and exciting. He will not leave anyone indifferent. Conquer hearts, showing all your feminine nature. Your round shapes in this color will become a virtue.
Cherry color is combined with lilac, raspberry, camel, green blue, gray blue, royal blue, lilac, light brown.

Let's not forget about slender girls who could add a couple of kilograms. Fortunately, they have a choice.
First: these are light warm shades, combine them with bright accessories, add shine.
Second: use shiny fabrics: patent leather, materials with sequins, satin, fabrics with lurix.
Third: bright light clothes.

Color combination for thin people

Silver peony or beige pink.

This color is proposed by Panton as one of the fashion leaders for the spring-summer 2011 season. Delicate, mysterious, filled with the inner strength of a blooming flower. It is more intended for leisure than for the office, although it will not be against everyday wear.
Beige pink is combined with warm pink, orange red, orange sorbet, fresh green, aquamarine, denim blue, coffee with milk, bright lilac, light gray colors.

Light gray green

Restrained, refined. Looks good on satin fabrics. It is designed for the office, as well as for a holiday or recreation. Combine it with glitter, you will look like a rare tropical fish that accidentally got into a gray city.
Grey-green combines with megento pink, red, yellow-orange, olive, blue-green, old gold, pink purple, pale gold.

fuchsia color

Bright, fast, bold. He is always distinguished from the crowd. Fuchsia does not irritate the eyes, and is perfect for working days, but at the holiday it will be a special pearl.
Combine fuchsia with soft pink, hot pink, light yellow, light green, light blue, blue, coffee with milk, bright lilac, gray flowers.

Illusion of clothes pattern.

In the article " which color is fattening and which is slimming» we got acquainted with the optical illusion of color. But this is only the simplest of its manifestations. More complex, varied, bizarre, giving a huge amount of material for experiments and figure adjustments - this is a drawing. And what is a drawing if not a combination of colors in different forms? The combinations are bright, contrasting, gradient, barely noticeable in a certain sequence. Some can make even light shades slim, while others can make dark ones, but they deceive in a big way. There are so many drawings that it seems impossible to sort through their illusory effects. But we will try anyway.

First, I want you to look at the girl in different clothes. She loves patterned dresses. By European standards, she cannot be called thin, so the optical illusion of the fabric pattern on her is more noticeable.

Drawings on fabric

Striped dresses

1) horizontal stripe

The fashion for horizontal stripes is quite stable, perhaps because the ideal skinny women never left the pedestal, although this causes indignation among the sane part of the population.

Horizontal stripe - full. It looks perfect on a slim figure. It can visually expand parts of the body that you think are thin or disproportionately small. For example, not big shoulders or small breasts, etc.

We have to give credit: the horizontal stripe is attractive. Her charm is that she contrasts with the vertical features of the body: arms, legs, due to this, stripes, legs, and graceful hands attract attention.

The more contrast the stripes, the more expression the effect, so black and white stripes equal to each other will be extreme in their kind - they expand to the maximum.

The thinner the stripes, the more the visual illusion of the wide colors appears. If they are white stripes, then the expansion effect will remain. If they are dark, and thin ones are not contrasts, then the picture will be slimmer.

Slightly contrasting, different in width stripes on a cold, not bright shade may not manifest themselves in any way.

2) vertical stripe

This drawing is slimming. The lines follow the structure of the body. The amount of its border, in the form of a line, becomes larger. The eye fixes the borders that are convenient for it, which are closer to each other than they actually are. It's like looking at eye level. Therefore, any presence of such lines, even a scarf, makes you slimmer.

Even if you have a light dress with beige vertical stripes, this effect will work.

If the stripes are bright, against the same background, then deception can be reduced to zero.

A vertically organized pattern, even on light-colored fabrics, will help you look slimmer.

Another one from interesting properties vertical stripe: against this background, the wrinkling of the fabric is not visible.

3) oblique lines

They bring dynamism to clothing, taking the eye away from the edges of the figure. This is not to say that oblique lines are slimming, we can say that they are distracting. Therefore, they are suitable for girls with any figure.

Be careful: oblique stripes that are too contrasting can distract attention to themselves so much that people do not remember your face.

Soft contrasting light oblique stripes will fit well into any wardrobe.

4) Cell drawing

This drawing is complete. And the larger the cell, the warmer the shade and the richer the color, the more the space moves apart. But how attractive it is, how beautifully colors can intertwine in it!

To negate this effect, you should stick to dark shades of fabric with barely visible stripes, preferably thin ones.

You can also choose a pattern with pronounced vertical lines and thinner horizontal ones.

The presence of a hanging scarf, an unbuttoned coat or sweater will also visually limit the expansion.

But for slender and thin - this is a great way out.

Floral drawing

5) Medium sized flowers

Beautiful, bright, colorful dresses. What can decorate a woman better than spring. However, they are also visually full. Another plus for the wardrobe of slender girls.

But if you look closely, then light dresses with a very frequent light pattern make you fat more than dark ones with a rare pattern. And the presence of an unbuttoned blouse, coat, scarf will add those same vertical stripes that work wonders.

I note that a medium-sized drawing should not be worn by fragile girls, against its background they will be emphasized small.

6) Big flowers

Usually bright spots - large flowers "push forward" and, of course, make them fat, but at the same time they also distort the proportions of the figure. Distortion can be very skillful when flaws become virtues. And it can ruin the whole image.

This coloring is suitable for large women if they have disproportionately small places in their figure (chest, shoulders, hips, etc.). It is desirable that the flower lays down there. If the drawing is in full place, then it will bulge grotesquely.

A special effect is obtained in a combination of a bright flower and dark fabric.

7) Small flower

A small flower expands, but in this case, much will depend on the overall shade of the material. Light and bright will fill you up considerably. The same will happen if the picture is strongly contrasting. Dark, cold shades of fabric with a soft pattern will not make significant changes to your figure.

Large and fat girls this pattern is not desirable, as it will emphasize massiveness.

Illusion of clothes pattern. Part two

This article is a continuation first part, where we have already examined some of the patterns on the fabric and their features. I repeat: there are a lot of drawings and they all distort your figure in one way or another. The question is how to make each effect work for itself. So that he, in no case, spoils the figure, but on the contrary, makes it even more attractive. And all this is really possible, knowing the features and laws of the optical illusion of the picture.

Starting to study the pattern of clothes, you should familiarize yourself with more simple action of color, which plays a huge role in the distortion of forms, and in the article we will resort to this knowledge more than once.

Remember, beauty is knowledge and its practical application. And increasing them with each new “drop”, you strive for perfect, inimitable femininity, which has been worshiped for many centuries by both men and women.

Clothes drawings

This pattern stands at a distance from seasonal fashion, its changeability does not affect its popularity. Polka dots are as classic as black, white or gray. Dresses with polka dots can always be found on sale at any time of the year.

The variety of colors in polka dots is also amazing: some visually expand very much, others, on the contrary, slim, there are even those that practically do not distort the figure. What does it depend on?

Visually increase:

1) Dark peas on a white background.

2) Frequent small peas on a light background

3) Very large peas

4) White polka dots on a bright warm fabric (for example, white polka dots on red, yellow or orange fabric)

5) Shiny peas

Slightly change the figure:

1) Dark polka dots on light fabric arranged vertically

2) Frequent white peas on a black background

3) Medium infrequent peas on a medium-light color of a cold shade (for example, white peas against a background of aquamarine)

4) Dark peas on a color of medium lightness.

Visually narrow:

1) Vertically organized light small peas on a dark background

2) Rare, closer to small, white peas on a black background

3) Rare medium pea light shades, but not white (it is important that there is less contrast) on a non-bright background of a medium or dark shade, preferably a cold color (for example, yellow-orange peas on a denim background)

4) Dark peas, on a dark background

When a hue fades into a lighter, brighter or completely different color. This is how volume, richness of colors, and ... modeling of the figure is achieved.

Dim, cold, more dark colors visually reduce the volume. Bright, light, warm shades - expand. Make sure that narrowing shades fall into places that are fuller than you would like, and filling colors into thin areas.

So, for example, for women with a wide top and a narrow bottom, dresses with a gradient from a light top to a dark bottom are contraindicated.

A corner is nothing more than two oblique lines converging at one point. How do you remember from first part, oblique lines do not distort the figure, but distract from it. It's all thanks to the introduction of dynamics. And since the two lines tend to reunite, reducing the distance between them, their priority will be the narrowing effect. They do not just slim, but make the eye constantly run from the beginning of the triangle to its end, which can distract from studying the figure.

The sharper and longer the angle, the more it slims.

For the visual illusion of reduction, the horizontal or vertical location of the corner does not matter. They do not form new borders (like, for example, a vertical strip), but hide the volume of the figure.

A large obtuse angle, throws off the dynamics and can even fill you up.

A frequent, obtuse, contrasting or colorful angle can also give volume, rather than reduce it.

A classic leopard dress with a small, oblong, dark brown spot on a light brown background. The specks are arranged vertically, and there are lighter and darker vertical stripes on the background. Most often, the contrast between the spots and the background is not great.

We can say with confidence: the leopard color of the dress is slimming.

The pronounced effect will vary depending on the size of the spots and their contrast with the background. A larger or contrasting pattern will slim you less.

Tiger dresses also have the effect of reducing the volume, since the stripes of the tiger are more like a long sharp corner, and we examined it above.

Contrasting large pattern

By contrast, we mean a big difference between the properties of a color. So the highest contrast between light and dark is black and white. This is a very bright and restrained combination, but very dangerous in the distortion of the figure.

First, no more white or dark on the opposite background attracts attention, so both successful and unsuccessful corrections will be visible.

It is worth knowing that white lace or a frequent ornament on a dark background greatly expands the space. If the white pattern is placed horizontally along the edge of the dress, its hem appears to be wider than it actually is. For women with wide hips or legs, this will betray an even greater increase in volume.

A vertically positioned white pattern, framed by a black background, makes the figure slimmer.

The location of the openwork pattern on the sides - increases the volume.

Black lace on white expands less than white on black, but it makes it look fat compared to plain black.

Abstract dress pattern

Drawing limited spots

Small spots limited in area with a clear contour, organized vertically - slim.

If the background is light, the picture is warm and large enough, then an expansion effect is observed.

Fills and very contrasting closer to the large pattern of spots.

But in any case, this drawing has more to do with the narrowing of the figure than the blurry one, since clearly defined spots, in turn, make it possible to more clearly draw the contours of the figure.

Blurry spots pattern